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拍品专文
Leonard Limousin worked for forty years in Limoges, the heart of enamel production during the Renaissance. His technical prowess is unmatched in modeling and placing fine enamel powders with use of a brush, needle and trowel in concert with the dark base ground or even the color of the finely hammered copper plate as a background. Limousin, who took inspiration from Italian engravings, began working on secular subjects as early as 1534. The present work is derived from Jean Mignon’s (active 1535-ca. 1555) etching of the subject. An enamel of exceptional size, it depicts the mythological story of Marcus Curtius saving Rome. According to legend, in 362 B.C. a flame or flaming pit opened in the Roman Forum as the result of an earthquake. The indominable Curtius leapt into the flames, which ceased thereafter, thereby saving the city.
This enamel comes from the Rosebery collection at Mentmore Towers (fig. 1). Much of the collection, which included several important Limoges enamels, was amassed in the late nineteenth century by the 5th Earl of Rosebery (1847-1929) and his wife, Hannah Primrose, Countess of Rosebery, née de Rothschild (1851-1890). Her father, Baron Mayer Amschel de Rothschild (1818-1874) was also an avid collector and commissioned the design of Mentmore Towers. The present enamel came to market at the historic sale of the 6th Earl of Rosebery after his passing.
This enamel comes from the Rosebery collection at Mentmore Towers (fig. 1). Much of the collection, which included several important Limoges enamels, was amassed in the late nineteenth century by the 5th Earl of Rosebery (1847-1929) and his wife, Hannah Primrose, Countess of Rosebery, née de Rothschild (1851-1890). Her father, Baron Mayer Amschel de Rothschild (1818-1874) was also an avid collector and commissioned the design of Mentmore Towers. The present enamel came to market at the historic sale of the 6th Earl of Rosebery after his passing.